45 research outputs found
Le thĂ©Ăątre roumain, annĂ©es soixante (1963â65). Regards de France et de Russie sur le travail de David Esrig
This research tries to present a brief period of the Romanian theatre, the sixties, from the point of view of its international echoes, mainly in France and Russia. Stage directors such as David Esrig and Lucian Pintilie, among many others, were very admired by theatre critics who had the opportunity to know their work. Denis Bablet, for example, wrote in 1967 a laudatory article in Les Lettres françaies, on Esrig and Pintilie, and it is entirely transcribed here, as an important document for Romanian theatre history. Babletâs article is the starting point for this research, where the focus is put on Esrigâs work that is situated in the great meyerholdian tradition.This research tries to present a brief period of the Romanian theatre, the sixties, from the point of view of its international echoes, mainly in France and Russia. Stage directors such as David Esrig and Lucian Pintilie, among many others, were very admired by theatre critics who had the opportunity to know their work. Denis Bablet, for example, wrote in 1967 a laudatory article in Les Lettres françaies, on Esrig and Pintilie, and it is entirely transcribed here, as an important document for Romanian theatre history. Babletâs article is the starting point for this research, where the focus is put on Esrigâs work that is situated in the great meyerholdian tradition
Meyerhold e as marionetes
Beatrice Picon-Vallin relata a histĂłria de Meyerhold e as marionetes a partir de algumas montagens do diretor, de relatos de Eisenstein e Serguei Obraztsov conluindo que Meyerhod buscava penetrar nos segredos da força expressiva e emocional dessas âmaravilhas teatraisâ, que foram uma de suas fontes de inspiração, Meyerhold repensou, enriqueceu e transformou o jogo de seus atores, suas relaçÔes com os espectadores, e encontrou soluçÔes para os mais ĂĄrduos problemas de encenação.
Um museu para o Teatro
Esse artigo apresenta uma proposta de criação de um Museu de Teatro nacional francĂȘs. Para tanto, faz um retrospecto sobre o assunto na França e alguns modelos de museus de teatro presentes no mundo, especialmente na RĂșssia
Meyerhold. Ses Ă©tonnants projets de lâannĂ©e 1932
Ă partir d'une recherche dans les archives de V.E.Meyerhold, cet article analyse l'un des stĂ©nogrammes retrouvĂ©s au MusĂ©e Bakhrouchine, Ă Moscou, datant de 1932, dans lequel le rĂ©alisateur d'avant-garde russe expose des postulats novateurs concernant l'interprĂ©tation et la mise en scĂšne des textes de Tchekhov, des concepts trĂšs Ă©loignĂ©s de la tradition rĂ©aliste du ThĂ©Ăątre d'Art de Moscou.Based on research from Meyerholdâs archives, this article analizes one of the stenograms found in the Bakhrouchin Museum, in Moscow, dating from 1932, in which the Russian avant-garde director exposes innovative postulates concerning the interpretation and theatrical staging of Tchekhovâs plays, conceptions far from the Realist tradition of Moscow Art Theater.Ă partir d'une recherche dans les archives de V.E.Meyerhold, cet article analyse l'un des stĂ©nogrammes retrouvĂ©s au MusĂ©e Bakhrouchine, Ă Moscou, datant de 1932, dans lequel le rĂ©alisateur d'avant-garde russe expose des postulats novateurs concernant l'interprĂ©tation et la mise en scĂšne des textes de Tchekhov, des concepts trĂšs Ă©loignĂ©s de la tradition rĂ©aliste du ThĂ©Ăątre d'Art de Moscou
Teatro polĂtico nos anos Brejnev. A TagĂĄnka
O artigo evoca o encenador russo Yuri LiubĂmov, fundador do Teatro da TagĂĄnka, grupo que atravessou, sob forte censura, os anos de chumbo do regime soviĂ©tico. Desenvolvendo forte relação com sua plateia o grupo resitiu, atĂ© o surgimento da perestrĂłika, como uma referĂȘncia internacional contra o arbĂtrio
Vsevolod Meyerhold
Why a Theatre Laboratory? It includes the programme of a three daysâ international symposium from October 4th through 6th 2004. This is the first initiative taken by the Centre for Theatre Laboratory Studies (CTLS), a newly inaugurated centre under Aarhus University in cooperation with Nordisk Teaterlaboratorium. Peripeti include articles on Stanislavski, Meyerhold, Copeau, Decroux, Grotowski, Peter Brook, TheÌaÌtre du Soleil, and Odin Teatret and the theatre laboratory praxis of these masters and inventors, including, of course, reflections on their function and effect. In the last article, Eugenio Barba reflects on the creative process of Odin Teatret over the last 40 years. In addition, we also include the curriculum vitae on those participating in the symposium.
The occasion of the symposium is to celebrate the 40th anniversary in October 2004 of Nordisk Teaterlaboratorium/Odin Teatret. Congratulations